Tag Archives: talking to the collector

TALKING TO THE COLLECTOR.

Brendon Kelly.

 

 

1. Firstly. why film music? And when did first become aware of music in movies?

14446075_10154013855768174_4050483031249328281_n

BRENDON WITH CHRISTOPHER GUNNING, DANIEL PEMBERTON IN BACKGROUND.

 
I have no idea why Film Music became my passion. I saw Superman in April 1979 and was blown away by that main theme! It is still my favourite score to this day.
I became obsessed by the music of John Williams and taped anything I could off the radio and TV. I would drive my parents mad by playing the Superman theme over and over again. What they failed to remember was it was my Dad who introduced me to Superman and that let to film music! I bought everything Williams and then bought Supergirl and Gremlins by Jerry Goldsmith. One day in about 1985 I decided I wanted to try some other stuff and purchased Star Trek II by James Horner….and was completely blown away and have been a massive fan ever since!

 

2.What was your first record purchase. If it was not a soundtrack what was the first film music you went out and paid for?

Return of the Jedi – just because it was John Williams!

 

 

3. Before the arrival of cds how many soundtracks did you have in your collection on vinyl?
Probably a hundred or so. Deeply regret binning these! However I still have Return of the Jedi, Superman and a JW score my grandparents bought me when they were on holiday in Canada- John Williams The River.

 

f8a8f11950ba87693c7dc6a765a50b8d

 

4. What was your most expensive soundtrack purchase ?
Probably the Superman Box Set and the Jerry Goldsmith 20th Century Fox Set.
Getting Ken Thorne’s Superman scores in full was a dream come true. Very underrated!

5. Do you still buy lp’s and which do you prefer.lp.cd or download?
No. Love CDs! Wish I could do more browsing like I did in the late 80s and 90s. Used to love going down Oxford Street and Dean Street looking for rarities!

5737583758_28cd75bde7_z

6. Is there anything that you are looking for that maybe you have not been able to find?
I don’t think so although our favourite labels keep surprising me as Intrada has just done with Robin Hood!
The one holy grail for me would be a release of Volunteers….oh and the full score to Willow!

 

7. What composer would you say dominates your collection?
James Horner…My favourite composer by a long way. I just love his music. Then Jerry Goldsmith and John Williams. I love the phrase “the holy trinity of film composers”! And the fourth largest in my collection…the great John Barry.

 

m6e34x2tda6ot2a3

What is your opinion of the state of film music in recent years, compared to the 40.s 50.s 60.s and 70s?..
I am a fan of the late 70s to mid 90s and really need to explore the golden age scores more. Although I buy less new film music than I did I do have an open mind. There has been some great stuff recently by Valezquez, Giacchino, etc but there are definitely less orchestral thematic scores than there used to be.

 

13466477_10153771246303174_5055607809037645254_n

.
.

 

You did a few reviews for MUSIC FROM THE MOVIES a while ago, when was this?

 

I think 2001 to about 2006? Only did about 30 odd reviews. But really enjoyable.

 

The one thing I wanted to say about state of film music is that today is a great day to be a film music enthusiast! The labels are releasing stuff we never thought possible, concerts are on the rise, composers are going on tour and scores are being performed live to Orchestra! I never would have hoped to hear the Desert Chase or Clock tower sequence live in a concert hall – let alone synchronised

 

Advertisements

TALKING TO THE COLLECTOR.

Jason Drury has become a regular contributor to the online radio station, Cinematic sounds radio, and has put together some interesting programmes under the banner of THE ARCHIVE, he is a passionate follower of film music both old and new.

 

1. Firstly. Why film music? And when did first become aware of music in movies?

I first realised a sort of interest in film music when I was as young as 7 years old. I was a fan of Thunderbirds and Barry Gary’s dramatic music really hit me even at that age. I remember starting to notice composer names Jerry Goldsmith and sub-consciously looking forward to the music. However, it was when I was 13 years old and seeing a showing of Close Encounters on television, I finally acknowledged to myself a clear awareness of music in movies which has increased more and more to this day.

 

 

2.What was your first record purchase. If it was not a soundtrack what was the first film music, you went out and paid for?

I cannot remember my first record purchase, I usually was given them for Christmas. I remember in 1984, receiving an Ultravox and a Duran Duran album. I really preferred comedy albums in those days. Jasper Carrott, Billy Connelly and Not the Nine O’clock News were regularly played. I guess that’s where my interest in satire came from.

 

I feel not long after I started looking around record shops for score albums. I remember buying Geoff Love and his Orchestra performing film and tv Sci-Fi Themes The first film score album I ever bought was a vinyl copy of James Horner’s score for Star trek III. Ironic really considering how much I have been consumed in his music recently.
The second was the Gremlins album with Goldsmith’s music on Side 2 and soon after Rambo First Blood Part 2.

81XQi23yewL._SY355_

 

3. Before the arrival of CDs how many soundtracks did you have in your collection on vinyl?

I had around 20-30 on vinyl and round 40 on cassette. It was only until I received the CD of Danny Elfman’s Batman score for Christmas that my CD collection kicked off. My first complete score was Rambo III in 1989.

 

0000741044

 

4. What was your most expensive soundtrack purchase?

I think the Superman box set and The Ron Jones Project  for that honour. They will be beaten in time by the La La Land Star Trek set. I am waiting for the right time and I am sure you will know when I have it as I am hoping to utilise the set on a future show I have in mind.

 

The_Ron_Jones_Project_box_cover

5. Do you still buy lps.and which do you prefer.lp.cd or download?

I have not brought vinyl in years. We had a turntable, but it was mainly used for my partner Mandy’s 78s collection. She has a far wider range of musical taste than I have. I mainly prefer to buy CD’s mainly for the inlays can give so much info on who was involved with the score and the booklets can give interesting info on the making of the score. I am increasingly using downloads to fill in the gaps. I noticed that some downloads have digital booklets which can be very useful.

jerry-goldsmith

 

6. Is there anything that you are looking for that maybe you have not been able to find

I am sure there still some ‘holy grail’ scores out there for me. Usually if I have missed out, it’s because I could not afford them at the time, and now I know now, that in most cases, they will get re-issued eventually. I just must be patient.

 

 

7. What composer would you say dominates your collection?
Over the years, Jerry Goldsmith has dominated my collection. James Horner has recently jumped into second position, and not far behind is John Williams. Goldsmith, Williams and Horner. Film music’s modern age ‘Holy Trinity’.

What is your opinion of the state of film music in recent years. compared to the 40.s 50. s 60.s and 70s?

 

We have a lot to thank the 70s and John Williams for. Star Wars and Close Encounters etc. If it wasn’t for Williams, traditional film music would not have had the renaissance in the 70s and 80s which spawned the emergence of composers such as James Horner or Alan Silvestri and brought back composers like Elmer Bernstein. I am sure I would not be doing this interview or producing film music radio shows like The Archive on Cinematic Sound Radio if it was not for John Williams and Star Wars.

 

the-archive-banner-epi2

Going forward to now, I feel sadly traditional film scoring is in decline. I love the sound of a huge orchestra performing melodic, symphonic film score, however, with the popularity of certain composers in the film industry, and directors preferring scores as background rumblings and not front and centre, these type of scores are becoming side-lined particularly for the blockbuster movies. That why we should support the John William’s, the James Newton Howard’s, the Michael Giacchino’s, the Alan Silvestri’s, the John Debney’s and others who use orchestras in their film scores in the traditional way pioneered all though years ago by Steiner and Korngold.

 

How do you store your CDs?

 

A mix of shelfs, cupboards and containers. The collection has grown more in recent years as I am always looking out for bargain buys. I must try to get them in some sort of order in time when I get the time.

maxresdefault

 

And finally, if you were asked by a soundtrack label to choose ten soundtracks to be released for first time or re-released in a complete version what would be on your list?

Brainstorm- James Horner
Dracula- John Williams
Moonraker- John Barry
Airport 79: The Concorde- Lalo Schifrin (a forgotten gem)
Timeline- Jerry Goldsmith
Air Force One- Jerry Goldsmith (just don’t send a copy to Trump)
Troy (rejected score) – Gabriel Yared
Marnie- Bernard Herrmann
The Mummy – Jerry Goldsmith
The Mummy Returns- Alan Silvestri

thK7ZRO43Y

TALKING TO THE COLLECTOR.

TIM SMITH.

Tim is like all of us passionate about film music, in case you did not know he is the gentleman behind the FANS OF MUSIC FROM THE MOVIES gatherings that have taken place during the past two years in London.

 

21743030_1996869903865834_8613235287056726386_n

FANS OF MUSIC FROM THE MOVIES NUMBER 2.

 

 

Why film music and when did you realize there was music in movies and what was your first soundtrack or first record purchase?

 

My path to film music started in the late 70’s early 80’s when I discovered Jean-Michel Jarre’s, Oxygene album through drama lessons at school. This eventually led me to Vangelis and with an affection for sci-fi movies, I bought my first soundtrack album BLADERUNNER. Coincidentally, around this time, I saw the film Once Upon a Time in the West on TV. Wow, that opening scene where the camera rises above the train station roof to that haunting and sublime theme, cemented a lifelong affection for cinema and film music.

22196381_2004596919759799_6796142120526369432_n

 

How many LP records did you have in your collection before you started to buy compact discs?
I’m not sure, but before the advent of the humble CD, I must have accumulated around eighty soundtrack albums.

Can you remember your most expensive soundtrack purchase?

 

My most expensive soundtrack purchase, I think, must have been when I eventually found Guy Farley’s very rare soundtrack to the film Madre Teresa.

 

 

Do you still buy LPS and which do you prefer? LP compact disc or download?

 

I no longer buy vinyl records now and mainly purchase CD’s with the occasional download if need be.

 

 

Is there anything that you are looking for that you have not been able to get, or anything you regret not getting when it was available?

 

I never bought the new recording of the Last Valley by John Barry performed by the City of Prague Philharmonic orchestra. It’s out of print and far too expensive to buy second hand.

kkrjuim07gbarkub

What composer or composers would you say dominate your collection?

That certainly would be John Barry. I discovered his music through the Bond movie Moonraker, but it wasn’t until a few years after the film’s release my mum and dad bought a VHS tape recorder and I taped the movie off the TV. Upon watching the film, I found myself taking more interest in the music and when it came to the Flight into Space sequence, something just clicked. I must have played that tape to an inch of its life until I could afford the soundtrack album.

18671127_1939332889619536_9222456333599503950_n

What is your opinion of the state of film music nowadays, compared with the scores from the 40, s 50, s 60, s etc.?

In recent times, there never has been such an eclectic mix of film scoring styles constantly changing and developing with the emergence of new social trends, technology, and talent. This is all good, but for me to buy the soundtrack, it must have an appealing theme to be able to enjoy the score in isolation of the film. We discussed at length at the last ‘Fans of music from the movies’ gathering event, how scarcely themes have become in mainstream film & tv productions nowadays compared to just a few years ago. The trend has drifted towards the crash, bang, wallop ambient soundscape. I suppose it’s all down to individual taste, same goes in comparison to the 40s 50s 60s etc., in my opinion, it’s all about personal preference.

 

How do you store or catalogue your collection?

 

I store my CD’s by the composer in no order, except for, some reason, Caldera and Tadlow Music releases. I store those releases in order of the record label in order of release.

And finally, if you were asked by a soundtrack label to choose ten soundtracks to be released for first time or re-released in a complete version what would be on your list?

 

In a perfect world, my choice of ten scores that come to mind to be either released or reissued would firstly be Michael Convertino’s – Queen of Hearts. Next would be (Klaus Badelt’s – Solomon Kane). This score is typical of Badelt’s output full of drama.
An expanded score of (Maurice Jarre’s – Jesus of Nazareth). Must have a Bond score on the list and it would great to have (John Barry’s – A View to a Kill) expanded and remastered. Supposedly now the tapes have been found a premier release of the rejected score of (John Barry’s – Year of the Comet) would be astounding. A premier release of (Guy Farley’s – I Know, You Know). A reissue of the CD for (Rachel Portman’s – Still Life). I missed out on (Ennio Morricone’s – Orca) re=mastered score with the title song before it was pulled from sale for, I believe, copyright issues last year. Would love to see this gorgeous score released (Nicola Piovani’s – Amornello Specchio) I’m not sure if there is enough music for a complete score release, but apart from a compilation CD out there containing two suites of the score, maybe (Alessandro Alessandroni’s White Fang and the Gold Diggers).

 

 

TALKING TO THE COLLECTOR.

Petr Kocanda.

Many thanks to Petr for answering the questions, he is a dedicated film music collector and I have to say has a varied and impeccable taste, he is always the first to alert us all about what is going on when it comes to new  soundtrack releases and I have been very grateful when he has alerted me to soundtracks that I would have probably by passed. He is a modest man, but has a great knowledge of movie music.

10987374_927721807272928_4420785897128832208_n

 

Firstly: why film music? And when did first become aware of music in movies?
I first became aware of film music probably in early 90s I remember noticing the music in ALIENS we watched at a friend‘s home on X-th generation VHS copy with muffled sound and voiceover translation. Anyone who has never seen one of those is missing much.  And why? Wish I knew… film music covers all genres and can also be very innovative and switch between genres within a single album. I like it’s variability and although I am not that fond of some musical genres – eg I would probably never listen to some jazz records on their own, Christopher Young’s RUM DIARY is a favourite of mine.

 

What was your first record purchase. If it was not a soundtrack what was the first film music you went out and paid for?
My first soundtrack was JURASSIC PARK in early 1994, I went to see the movie many times mainly just to listen to the music. I used to have a cassette I got for my birthday, which I played a ton of times. My first actual CD was the old E.T. I got in Summer 1995 followed by STAR WARS TRILOGY around Christmas and THE OMEN, THE MAN WITHOUT A FACE and ALIENS in early 1996. I didn’t have a CD player back then so I kept asking my schoolmates to record CDs to cassettes for me.

Before the arrival of compact discs how many soundtracks did you have in your collection on vinyl?
I started collecting when CDs were norm. Actually few or my earliest purchases were cassettes of  things like, HOOK, CHAPLIN and ALADDIN (horrible version with Czech version of the songs).

 

What was your most expensive soundtrack purchase?

Probably original releases of LINK and RAGGEDY MAN.

 

Do you still buy LP.s and which do you prefer: LP, CD or download?
Definitely CDs. I haven’t really started buying LPs until recently. I am still very picky and generally get only stuff from composers that I am most fond of and I still need to get an LP player.

Is there anything that you are looking for that maybe you have not been able to find?
There are a few rare CDs on my wish list. Probably the most elusive one seems to be Frédéric Talgorn’s library music CD CLASSIC DRAMA DOCUMENTARIES. Some others are not that difficult to find but can get pricey: Maurice Jarre’s 3CD collection of Theatre Music or many early releases of Alexandre Desplat, Marco Frisina and Abel Korzeniowski are still missing in my collection.

 

What composer or Composers would you say dominates your collection?
Easily number one is Jerry Goldsmith. Especially thanks to all the reissues of some of his greatest hits. But there is many others that I am always eager to get even without hearing a single note of their (new) music.

 

What is your opinion of song scores?
I don’t particularly listen to them or look for them when it comes to my purchases. Some movies can of course benefit from this approach if done well – e.g. Tarantino films or one of my favourite movies from last year I, TONYA, which doesn’t include a single second of original score during its first half. It works amazingly well and some scenes are just unforgettable with the songs (Goodbye Stranger by Super-tramp, Gloria by Laura Branigan, How Can You Mend a Broken Heart by Chris Stills or The Passenger by Siouxie and the Banshees). I still can’t imagine any score that would work in these scenes just as well…

What is your opinion of the state of film music in recent years. compared to the 40.s 50.s 60.s and 70s?
I would say it’s rather a generational thing. People tend to remember masterpieces long after they were released and forget about the rest, which perhaps wasn’t all that great. And of course with composer such as Alfred Newman, Bernard Herrmann, Franz Waxman, Erich Wolfgang Korngold, Dimitri Tiomkin or Bronislau Kaper those were the days film music became an art form and many of the best scores belong to their generation. Great scores are still being written every year, but those are rarely done for big budget studio films but rather for Spanish, Skandinavian, French films or smaller independent films or TV projects and might get a bit more difficult to find with so many new scores released every month.

 

How do you store your cds?
I used to have part of my collection arranged based on the series of releases they belong to (ISC, ISE, FSM, VCL grouped together). Since they could no longer fit on their shelves I switched to grouping them by composers.

If you were asked by a soundtrack label to choose ten soundtracks to be released for first time or re released in a complete version what would be on your list?


Hmmm… this is a very difficult questions. If it was supposed to be more recent scores I could chose I would start with Marco Beltrami’s MATILDA – quite amazing score featuring one of his most beautiful themes. Dario Marianelli’s PANDAEMONIUM and more recent ALI AND NINO are two scores I would love to hear. I was very disappointed when Alex Heffes‘ ROOTS didn’t get released although initially announced, so that one would be another candidate. Fernando Velázquez’s OUT OF THE DARK as well as any of his many unreleased works. Guy Farley’s I KNOW YOU KNOW, IL BENE E IL MALE or L’AMORE E LA GUERRA are three very beautiful scores as well. Theodore Shapiro’s MYSTERIES OF PITTSBURGH or ARTHUR are two very good scores as well. THE ORVILLE would also make a great set, which will hopefully happen sooner or later. It would be also nice to see more ALIAS music released as well as UNDERCOVERS by Michael Giacchino and Chris Tilton or finally David Arnold’s pilot score for THE VISITOR.
Another option would be some of the scores that were released digitally: Daniel Pemberton’s Ivor Novello winning score for DESPERATE ROMANTICS is simply brilliant as well as UPSTAIRS DOWNSTAIRS (SEASON 1), Marco Beltrami’s DON’T BE AFRAID OF THE DARK and THE EYE, Theodore Shapiro’s ZOOLANDER NO. 2 and CAPTAIN UNDERPANTS. Gaute Storaas‘ A MAN CALLED OVE was a very pleasant surprise, which is sadly available as download only.

Speaking of expansions CHRISTOPHER COLUMBUS: THE DISCOVERY, IRON WILL, SCREAM 3, BLADE 2, TERMINATOR 3, SPHERE, ATONEMENT, ERAGON or STARDUST come to mind first and would be certainly very interesting. With older scores two at the top of my list were both composed by late great Luboš Fišer – NA KOMETĚ („On the Comet“ directed by Karel Zeman) and DOTEK MOTÝLA („Touch of a Butterfly“ directed by Juraj Herz). Perhaps there will be a chance to see them happen in not too distant future. When it comes to more well-known titles I would be certainly very interested in something like complete versions of DRACULA (the one by John Williams), STORY OF A WOMAN, SPIRIT OF ST. LUIS, THAT HAMILTON WOMAN, CAPTAINS AND THE KINGS, TENDRE POULET, YOUNG DOCTORS IN LOVE, ONE OF OUR DINOSAURS IS MISSING, YOUNG INDIANA JONES CHRONICLES and many more.
And there is also a couple of rejected works that would be certainly very interesting to hear – although would need to be recorded first: Dario Marianelli’s PAN, Jerry Goldsmith’s BABE (the pig movie), Marco Betrami’s TEENAGE MUTANT NINJA TURTLES, John Debney’s HACKSAW RIDGE and of course James Horner’s ROMEO AND JULIET.
I am sure I forgot many very interesting scores and I severely exceeded your 10 scores limit but some of these would be a great way to start.

 

 

 

 

th7MA0102C

 

TALKING TO THE COLLECTOR.

TOM BETTS.

I consider Tom to be the man when it comes to music from Spaghetti westerns, he has a vast knowledge of the music and the movies and is never selfish with his knowledge.

SentenzaDiMorte_DatabasePage

1.Why film music? And when did first become aware of music in movies?

Like all music it creates a picture in your mind and a feeling in your heart and body. It creates a mood and the really great film music can be played and enjoyed without watching the film it comes from. I guess I became aware of film music more from the late 1950s TV series and then as I got older the film music I became aware of was from Rock n Roll and Beach films.

 

 

2.What was your first record purchase, if it was not a soundtrack what was the first film music you went out and paid for?

The first record I purchased with my own money was a 45rpm of Duane Eddy’s “Rebel Rouser”. The first film score I bought was, I’m guessing “How the West Was Won” as it was a huge record in its day.

 

R-5942663-1510019045-9262.jpeg

 

3.Before the arrival of CDs how many soundtracks did you have in your collection on vinyl records.

Probably 300-400.

4. What was your most expensive soundtrack purchase?

My most expensive soundtrack purchase was the Japanese Spaghetti Western Encyclopedia. I bought the entire set at one time, knowing it contained vocals I had never heard and weren’t on the LPs I had. That was a real bummer in the early days of soundtracks, that most of the time the vocal you sang and hummed along with was not on the LP. A huge disappointment to collectors.

 

5. Do you still buy LPs. and which do you prefer.lp.cd or download?

I no longer buy LPs. I don’t even have a record player anymore. After a while you get tired of buying the same scores over and over again because of a new re-release, an added track or an additional 15 seconds of music. I came to the realization I wasn’t going to buy my collection over and over again in different formats. I download material I can’t get on CD but CDs are my choice for soundtracks. I like the size and the extras as far as pictures and informative booklets. My disappointment there is little information about the composer and musicians but plenty of info on the film. I buy the CD for the music so tell me more about the music than the film.

6. Is there anything that you are looking for that maybe you have not been able to find.

Probably, but nothing I have been dying to get my hands on. There are probably some DeMasi western scores I would to get a hold of, especially the early Spanish / Italian co-productions he did with Manuel Parada.

 

7. What composer would you say dominates your collection?

Only two: Morricone and De Masi.

 

banner3